Universal Tonality
Since ascending onto the world stage in the 1990s as one of the premier bassists and composers of his generation, William Parker has perpetually toured around the world and released over forty albums as a leader. He is one of the most influential jazz artists alive today. In Universal Tonality historian and critic Cisco Bradley tells the story of Parker's life and music. Drawing on interviews with Parker and his collaborators, Bradley traces Parker's ancestral roots in West Africa via the Carolinas to his childhood in the South Bronx, and illustrates his rise from the 1970s jazz lofts and extended work with pianist Cecil Taylor to the present day. He outlines how Parker's early influences-Ornette Coleman, John Coltrane, Albert Ayler, and writers of the Black Arts Movement-grounded Parker's aesthetic and musical practice in a commitment to community and the struggle for justice and freedom. Throughout, Bradley foregrounds Parker's understanding of music, the role of the artist, and the relationship between art, politics, and social transformation. Intimate and capacious, Universal Tonality is the definitive work on Parker's life and music.
Industry
Amidst the heated fray of the Culture Wars emerged a scrappy festival in downtown New York City called Bang on a Can. Presenting eclectic, irreverent marathons of experimental music in crumbling venues on the Lower East Side, Bang on a Can sold out concerts for a genre that had been long considered box office poison. Through the 1980s and 1990s, three young, visionary composers--David Lang, Michael Gordon, and Julia Wolfe--nurtured Bang on a Can into a multifaceted organization with a major record deal, a virtuosic in-house ensemble, and a seat at the table at Lincoln Center, and in the process changed the landscape of avant-garde music in the United States. Bang on a Can captured a new public for new music. But they did not do so alone. As the twentieth century came to a close, the world of American composition pivoted away from the insular academy and towards the broader marketplace. In the wake of the unexpected popularity of Steve Reich and Philip Glass, classical presenters looked to contemporary music for relevance and record labels scrambled to reap its potential profits, all while government funding was imperilled by the evangelical right. Other institutions faltered amidst the vagaries of late capitalism, but the renegade Bang on a Can survived--and thrived--in a tumultuous and idealistic moment that made new music what it is today.
Sound Communities in the Asia Pacific
The popularization of radio, television, and the Internet radically transformed musical practice in the Asia Pacific. These technologies bequeathed media broadcasters with a profound authority over the ways we engage with musical culture. Broadcasters use this power to promote distinct cultural traditions, popularize new music, and engage diverse audiences. They also deploy mediated musics as a vehicle for disseminating ideologies, educating the masses, shaping national borders, and promoting political alliances. With original contributions by leading scholars in anthropology, ethnomusicology, sound studies, and media and cultural studies, the 12 essays this book investigate the processes of broadcasting musical culture in the Asia Pacific. We shift our gaze to the mechanisms of cultural industries in eastern Asia and the Pacific islands to understand how oft-invisible producers, musicians, and technologies facilitate, frame, reproduce, and magnify the reach of local culture.
At Home in Our Sounds
At Home in Our Sounds illustrates the effect jazz music had on the enormous social challenges Europe faced in the aftermath of World War I. Examining the ways African American, French Antillean, and French West African artists reacted to the heightened visibility of racial difference in Paris during this era, author Rachel Anne Gillett addresses fundamental cultural questions that continue to resonate today: Could one be both black and French? Was black solidarity more important than national and colonial identity? How could French culture include the experiences and contributions of Africans and Antilleans? Providing a well-rounded view of black reactions to jazz in interwar Paris, At Home in Our Sounds deals with artists from highly educated women like the Nardal sisters of Martinique, to the working black musicians performing at all hours throughout the city. In so doing, the book places this phenomenon in its historical and political context and shows how music and music-making constituted a vital terrain of cultural politics--one that brought people together around pianos and on the dancefloor, but that did not erase the political, regional, and national differences between them.
Universal Tonality
Since ascending onto the world stage in the 1990s as one of the premier bassists and composers of his generation, William Parker has perpetually toured around the world and released over forty albums as a leader. He is one of the most influential jazz artists alive today. In Universal Tonality historian and critic Cisco Bradley tells the story of Parker's life and music. Drawing on interviews with Parker and his collaborators, Bradley traces Parker's ancestral roots in West Africa via the Carolinas to his childhood in the South Bronx, and illustrates his rise from the 1970s jazz lofts and extended work with pianist Cecil Taylor to the present day. He outlines how Parker's early influences-Ornette Coleman, John Coltrane, Albert Ayler, and writers of the Black Arts Movement-grounded Parker's aesthetic and musical practice in a commitment to community and the struggle for justice and freedom. Throughout, Bradley foregrounds Parker's understanding of music, the role of the artist, and the relationship between art, politics, and social transformation. Intimate and capacious, Universal Tonality is the definitive work on Parker's life and music.
Audible Infrastructures
Our day-to-day musical enjoyment seems so simple, so easy, so automatic. Songs instantly emanate from our computers and phones, at any time of day. The tools for playing and making music, such as records and guitars, wait for us in stores, ready for purchase and use. And when we no longer need them, we can leave them at the curb, where they disappear effortlessly and without a trace. These casual engagements often conceal the complex infrastructures that make our musical cultures possible. Audible Infrastructures takes readers to the sawmills, mineshafts, power grids, telecoms networks, transport systems, and junk piles that seem peripheral to musical culture and shows that they are actually pivotal to what music is, how it works, and why it matters. Organized into three parts dedicated to the main phases in the social life and death of musical commodities -- resources and production, circulation and transmission, failure and waste -- this book provides a concerted archaeology of music's media infrastructures. As contributors reveal the material-environmental realities and political-economic conditions of music and listening, they open our eyes to the hidden dimensions of how music is made, delivered, and disposed of. In rethinking our responsibilities as musicians and listeners, this book calls for nothing less than a reconsideration of how music comes to sound.
Radiation Sounds
On March 1, 1954, the US military detonated "Castle Bravo," its most powerful nuclear bomb, at Bikini Atoll in the Marshall Islands. Two days later, the US military evacuated the Marshallese to a nearby atoll where they became part of a classified study, without their consent, on the effects of radiation on humans. In Radiation Sounds Jessica A. Schwartz examines the seventy-five years of Marshallese music developed in response to US nuclear militarism on their homeland. Schwartz shows how Marshallese singing draws on religious, cultural, and political practices to make heard the deleterious effects of US nuclear violence. Schwartz also points to the literal silencing of Marshallese voices and throats compromised by radiation as well as the United States' silencing of information about the human radiation study. By foregrounding the centrality of the aural and sensorial in understanding nuclear testing's long-term effects, Schwartz offers new modes of understanding the relationships between the voice, sound, militarism, indigeneity, and geopolitics.
The Abelard Hymnal
This hymnal is a collection of early Christian poems translated into English and set to melodies from the medieval period. The 56 poems are selected from 'One Hundred Latin Hymns: Ambrose to Aquinas' (OHLH), edited by Peter G. Walsh and Christopher Husch. OHLH is number 18 in the Dumbarton Oaks Medieval Library series and is a critical edition of early Christian poems written between the 4th and 13th centuries. The 183 melodies for the poems are taken from 'Die mittelalterlichen Hymnenmelodien des Abendlandes' (HA), volume 1 in B瓣renreiter's Monumenta Monodica Medii Aevi series. HA, written by Bruno St瓣blein, is a catalogue of hymns from medieval Europe and contains well over 1000 different melodies. The melodies that were selected come from manuscripts that date between the 11th and 15th centuries. The translations for the poems are taken from a variety of sources, though most are from 19th-century England.
Mass Movement
It was never supposed to last or be anything other than an underground punk rock fanzine. But fate had other ideas and for the last two twenty two years, Mass Movement has been navigating its own singular course through the often strange and always wonderful worlds of punk rock and geek culture.The Best of Mass Movement: The Digital Years Volumes I & II are the result of a crazy five year period that saw Mass Movement reluctantly enter, and make its mark on the digital age. They are a testament to the power of the underground and capture the essence of a magazine and website that celebrated, and continues to champion, the writers, musicians, artists and scenes and the people who make life a glorious adventure...Tim CundleBooks like this are crucial for preserving the words of our subculture and I am so very glad that this collection will put Mass Movement in its correct place within the history of punk. There is little that I love more than the heartfelt work that goes into collecting and archiving important writing and interviews and Tim has done an amazing job here.Just as with MM during its time as a printed zine, this collection is diverse, passionate, and interesting. It will help preserve this periods history on so many aspects of different sub-cultures - but all from a punk perspective. I always loved that Tim interviews bands that he liked and people that he found interesting or inspiring, rather than the suggestions of publicists. I think that's what made MM retain its authenticity as it grew - that it wasn't a vehicle for promoting the next hyped band, but more one man's passions and preferences. This led to questions that had depth and purpose, and far better interviews than in the average zine.The diversity of the bands and other individuals reflects Tim's loves, and this shines right through the pages. As both a writer, and someone working at record labels for years (Revelation Records for 20 years and now Pirates Press Records for almost two) I understand the difficulty in reaching this balance. I think it's crucial for a zine (or a website) to retain this integrity and it's something Tim's always managed to do. Our history, our thoughts and emotions, and our collective punk scene must be archived in this way or it will be lost. Through this kind of dedication, hard work, and follow through, Tim is once more illustrating how the punk scene, especially in the UK, would have been far less rich and wonderful if Mass Movement had not been one of its cornerstones. And as it continues to be so, whilst Tim diversifies all the more with his writing, we take our hats off to him for putting together this collection for us all to either read for the first time, or take a lovely trip down memory lane. Thank you Tim, from one zinester to another, for your hard work then, now and probably for always. Vique "Simba" Martin.
Dead Man’s Curve
Jan Berry, leader of the music duo Jan & Dean from the late 1950s to mid-1960s, was an intense character who experienced more in his first 25 years than many do in a lifetime. As an architect of the West Coast sound, he was one of rock 'n' roll's original rebels--brilliant, charismatic, reckless, and flawed. As a songwriter, music arranger, and record producer for Nevin-Kirshner Associates and Screen Gems-Columbia Music, Berry was one of the pioneering self-produced artists of his era in Hollywood. He lived a dual life, reaching the top of the charts with Jan & Dean while transitioning from college student to medical student, until an automobile accident in 1966 changed his trajectory forever. Suffering from brain damage and partial paralysis, Jan spent the rest of his life trying to come back from Dead Man's Curve. His story is told here in-depth for the first time, based on extensive primary source documentation and supplemented by the stories and memories of Jan's family members, friends, music industry colleagues, and contemporaries. From the birth of rock to the bitter end, Berry's life story is thrilling, humorous, unsettling, and disturbing, yet ultimately uplifting.
Daniel Santos
Junto a su familia, un ni簽o de 11 a簽os llamado Daniel Santos se embarc籀 en Puerto Rico para un viaje rumbo a Nueva York, huyendo de la pobreza y en busca de la supervivencia. En las calles de Brooklyn, pas籀 su juventud entre la violencia y el vicio hasta el d穩a que conoci籀 a su mes穩as, Don Pedro Flores. Ese d穩a marc籀 el comienzo de una vida singular entre placeres, amores, 矇xitos y aplausos, pero tambi矇n de profundos lamentos y a簽oranzas. Esta novela es basada en la trayectoria humana del inolvidable 穩cono, el bolerista m獺s famoso de Latinoam矇rica.
The Twenty Seven Club
It's 1994. The music industry is mourning Kurt Cobain, Right Said Fred have re-emerged as an 'ironic' pop act and John Major is the country's prime minister. Nothing is as it should be. Emma, a working-class rock music fan from Hull, with a penchant for a flaming Drambuie and a line of coke with her best mate Dave down The Angel, is troubled. Trev, her beloved whippet, has doggy IBS, and her job ordering bathroom supplies at the local caravan company is far from challenging. So when her dad, Tel, informs her that Kurt Cobain has killed himself aged 27, Emma is consumed with anxiety. Janis Joplin, Brian Jones, Jim Morrison, Jimi Hendrix...why have so many rock musicians died aged 27? And will Emma be next to join The Twenty Seven Club?The Twenty Seven Club is a nostalgic, often humorous, drug and booze-infused tale of friendship, discovery and anxiety as Emma tries, for once, to focus on life, rather than death.
Crossing Bar Lines
In Crossing Bar Lines: The Politics and Practices of Black Musical Space James Gordon Williams reframes the nature and purpose of jazz improvisation to illuminate the cultural work being done by five creative musicians between 2005 and 2019. The political thought of five African American improvisers--trumpeters Terence Blanchard and Ambrose Akinmusire, drummers Billy Higgins and Terri Lyne Carrington, and pianist Andrew Hill--is documented through insightful, multilayered case studies that make explicit how these musicians articulate their positionality in broader society. Informed by Black feminist thought, these case studies unite around the theory of Black musical space that comes from the lived experiences of African Americans as they improvise through daily life. The central argument builds upon the idea of space-making and the geographic imagination in Black Geographies theory. Williams considers how these musicians interface with contemporary social movements like Black Lives Matter, build alternative institutional models that challenge gender imbalance in improvisation culture, and practice improvisation as joyful affirmation of Black value and mobility. Both Terence Blanchard and Ambrose Akinmusire innovate musical strategies to address systemic violence. Billy Higgins's performance is discussed through the framework of breath to understand his politics of inclusive space. Terri Lyne Carrington confronts patriarchy in jazz culture through her Social Science music project. The work of Andrew Hill is examined through the context of his street theory, revealing his political stance on performance and pedagogy. All readers will be elevated by this innovative and timely book that speaks to issues that continue to shape the lives of African Americans today.
Crossing Bar Lines
In Crossing Bar Lines: The Politics and Practices of Black Musical Space James Gordon Williams reframes the nature and purpose of jazz improvisation to illuminate the cultural work being done by five creative musicians between 2005 and 2019. The political thought of five African American improvisers--trumpeters Terence Blanchard and Ambrose Akinmusire, drummers Billy Higgins and Terri Lyne Carrington, and pianist Andrew Hill--is documented through insightful, multilayered case studies that make explicit how these musicians articulate their positionality in broader society. Informed by Black feminist thought, these case studies unite around the theory of Black musical space that comes from the lived experiences of African Americans as they improvise through daily life. The central argument builds upon the idea of space-making and the geographic imagination in Black Geographies theory. Williams considers how these musicians interface with contemporary social movements like Black Lives Matter, build alternative institutional models that challenge gender imbalance in improvisation culture, and practice improvisation as joyful affirmation of Black value and mobility. Both Terence Blanchard and Ambrose Akinmusire innovate musical strategies to address systemic violence. Billy Higgins's performance is discussed through the framework of breath to understand his politics of inclusive space. Terri Lyne Carrington confronts patriarchy in jazz culture through her Social Science music project. The work of Andrew Hill is examined through the context of his street theory, revealing his political stance on performance and pedagogy. All readers will be elevated by this innovative and timely book that speaks to issues that continue to shape the lives of African Americans today.
Richard Wagner’s Essays on Conducting
The first modern English edition of Richard Wagner's essays on conducting, extensively annotated, with a critical essay on Wagner as conductor: his aesthetic, practices, vocabulary, and impact. Richard Wagner was one of the leading conductors of his time. Through his disciples Hans von B羹low, Hans Richter, Anton Seidl, Felix Mottl, Arthur Nikisch, and their many notable prot矇g矇s, a Wagnerian art of interpretation became the norm in Europe and America until well into the twentieth century. Wagner's essays on conducting had an even longer impact, and were upheld as central to their art by later generations of conductors from Mahler to Strauss, Furtw瓣ngler, B繹hm, Scherchen, and beyond. This is the first complete, modern translation of Wagner's conducting essays to appear in English, and the first-ever edition to offer extensive annotations explaining their reception and impact. The accompanying critical essay offers a detailed analysis of Wagner's conducting practices, his innovations in tempo and the art of transition, his creation of a new vocabulary to describe his art, and his success in establishing a school of conductors to promote his works and his aesthetic. A digital edition of this book is openly available thanks to generous support from the Swiss National Science Foundation.
Stranded
The definitive book on Australian punk and post-punk music, long unavailable, now reissued in a much-expanded new edition with 175 photos. Stranded offers the inside story of the emergence of the Saints, the Birthday Party, the Laughing Clowns, the Go-Betweens, Nick Cave, the Triffids, the Moodists, the Scientists, and many more great Australian bands, told by a writer who witnessed it all first-hand and is acknowledged as the leading chronicler of the Australian music scene.
Transcending Dystopia
By the end of the Second World War, Germany was in ruins and its Jewish population so gravely diminished that a rich cultural life seemed unthinkable. And yet, as surviving Jews returned from hiding, the camps, and their exiles abroad, so did their music. Transcending Dystopia tells the story of the remarkable revival of Jewish musical activity that developed in postwar Germany against all odds. Author Tina Fr羹hauf provides a kaleidoscopic panorama of musical practices in worship and social life across the country to illuminate how music contributed to transitions and transformations within and beyond Jewish communities in the aftermath of the Holocaust. Drawing on newly unearthed sources from archives and private collections, this book covers a wide spectrum of musical activity-from its role in commemorations and community events to synagogue concerts and its presence on the radio-across the divided Germany until the Fall of the Wall in 1989. Fr羹hauf's use of mobility as a conceptual framework reveals the myriad ways in which the reemergence of Jewish music in Germany was shaped by cultural transfer and exchange that often relied on the circulation of musicians, their ideas, and practices within and between communities. By illuminating the centrality of mobility to Jewish experiences and highlighting how postwar Jewish musical practices in Germany were defined by politics that reached across national borders to the United States and Israel, this pioneering study makes a major contribution to our understanding of Jewish life and culture in a transnational context.
Voices of the Field
Ethnomusicologists face complex and challenging professional landscapes for which graduate studies in the field do not fully prepare them. The essays in Voices of the Field: Pathways in Public Ethnomusicology, edited by Le籀n F. Garc穩a Corona and Kathleen Wiens, provide a reflection on the challenges, opportunities, and often overlooked importance of public ethnomusicology. These essays capture years of experience of fourteen scholars who have simultaneously navigated the worlds within and outside of academia, sharing valuable lessons often missing in ethnomusicological training. Power and organizational structures, marketing, content management and production are among the themes explored as an extension and re-evaluation of what constitutes the field of/in ethnomusicology. Many of the authors in this volume share how to successfully acquire funding for a project, while others illustrate how to navigate non-academic workplaces, and yet others share perspectives on reconciling business-like mindsets with humanistic goals. Grounded in case studies in multiple institutional and geographical locations, authors advocate for the importance and relevance of ethnomusicology in our society at large.
101 Blues Riffs & Solos in Open D Guitar Tuning
Master the Blues in Open D Guitar TuningEssential Lessons in Open D GuitarSlide, Fingerstyle and Picking Riff and SolosTraditional, Delta, Rock, Funk and Jazz BluesExtensive Scale, Chord, and Arpeggio ChartsA Complete Course for Open D (DADF#AD)Audio Tracks OnlineTake your Open D guitar playing to the next level with 101 Blues Riffs & Solos in Open D Guitar Tuning. The most complete instructional book ever written exclusively for DADF#AD tuning. This book is great for beginners and excellent for intermediate and advanced guitarists looking to enrich their creative, open tuning knowledge. A complete course on its own, the book covers a wide range of essential lessons to play blues in multiple styles, including traditional, Delta, rock, funk and jazz blues. Begin by studying the 40 stylistic riffs in several keys, then move on to the 25 practical one and two bar riffs. Next, you can learn the rhythm guitar riffs, the fingerstyle patterns, and finish with the longer riffs and solos. Using a combination of slide, fingerstyle and pick playing, you will cover all the bases needed to develop a solid technique in open D guitar. The extensive scale charts show the blues, major, minor, modal and pentatonic scales with useful diagrams. Chords and arpeggios are also covered with the essential blues chords and variations on blues chord progressions presented in all keys.If you want to explore the world of open D, then you are in the right place. Everything you need to master the blues with essential lessons for DADF#AD guitar tuning!Audio tracks are available on the author's website: brentrobitaille.com 185 pages. -
Turkish Folk Music Between Ghent and Turkey
Shaped by the processes of migration, diasporization and cosmopolitanization, musical performance conditions and contexts constantly change, while new musical forms emerge and evolve. The development of Turkish folk music is well-documented and provides rich material for study in the motherland and in the diaspora. This book explores, describes, interprets and links musical, contextual and functional aspects of Turkish folk music in contemporary Turkey and the Turkish diaspora in the Belgian city of Ghent.The Turkish presence in Ghent is particularly interesting in its size (approximately ten per cent of the population) and constitution (mostly originating in the West Anatolian town of Emirdağ). Anchored in detailed ethnographic reality, this book expands our views on what Turkish folk music signifies in the early twenty-first century, and adds to the understanding and appreciation of this multifaceted, topical musical phenomenon. This book's multi-sited, transnational and comparative outlook is unique, with an added dimension generated by the inclusion of rural and small-town contexts that complement the urban perspective. It makes new contributions to scholarship in this area by including the transcription and analysis of performance styles, the evaluation of Turkish Radio and Television discourses and practices, and the exploration of understudied research contexts of Ghent and Emirdağ.
Turkish Folk Music Between Ghent and Turkey
Shaped by the processes of migration, diasporization and cosmopolitanization, musical performance conditions and contexts constantly change, while new musical forms emerge and evolve. The development of Turkish folk music is well-documented and provides rich material for study in the motherland and in the diaspora. This book explores, describes, interprets and links musical, contextual and functional aspects of Turkish folk music in contemporary Turkey and the Turkish diaspora in the Belgian city of Ghent.The Turkish presence in Ghent is particularly interesting in its size (approximately ten per cent of the population) and constitution (mostly originating in the West Anatolian town of Emirdağ). Anchored in detailed ethnographic reality, this book expands our views on what Turkish folk music signifies in the early twenty-first century, and adds to the understanding and appreciation of this multifaceted, topical musical phenomenon. This book's multi-sited, transnational and comparative outlook is unique, with an added dimension generated by the inclusion of rural and small-town contexts that complement the urban perspective. It makes new contributions to scholarship in this area by including the transcription and analysis of performance styles, the evaluation of Turkish Radio and Television discourses and practices, and the exploration of understudied research contexts of Ghent and Emirdağ.
Bikutsi
This book offers the first ethnographically informed, in-depth historical study of the Cameroonian popular music genre bikutsi. The thriving dance music in Cameroon's day-to-day life has its foundation in the specific historical processes of the 1970s and 1980s, which led to the recognition of bikutsi as a distinct genre of Cameroonian dance music. Examining these processes in detail, this book analyses the various factors involved in the rise of a popular music genre within a national music scene. The book begins by tracing the roots of bikutsi in the musical traditions of the ethnic groups of the Beti who live in and around Cameroon's capital Yaounde, as well as in the manifold popular dance music practices fashionable in mid-20th-century Cameroon. The volume then considers the musical work of successful groups and musicians, framing their musical practices and success within the socio-political circumstances, musical environment, and ambitions of individuals. Offering an explanation for the changes in Cameroon's musical life, these analyses illustrate the interplay between the innovative ambitions of individual musicians, a specific political situation within the power structure of the post-colonial state, dedicated individuals in media and the music market, and technological changes in recording and disseminating music.
Bikutsi
This book offers the first ethnographically informed, in-depth historical study of the Cameroonian popular music genre bikutsi. The thriving dance music in Cameroon's day-to-day life has its foundation in the specific historical processes of the 1970s and 1980s, which led to the recognition of bikutsi as a distinct genre of Cameroonian dance music. Examining these processes in detail, this book analyses the various factors involved in the rise of a popular music genre within a national music scene. The book begins by tracing the roots of bikutsi in the musical traditions of the ethnic groups of the Beti who live in and around Cameroon's capital Yaounde, as well as in the manifold popular dance music practices fashionable in mid-20th-century Cameroon. The volume then considers the musical work of successful groups and musicians, framing their musical practices and success within the socio-political circumstances, musical environment, and ambitions of individuals. Offering an explanation for the changes in Cameroon's musical life, these analyses illustrate the interplay between the innovative ambitions of individual musicians, a specific political situation within the power structure of the post-colonial state, dedicated individuals in media and the music market, and technological changes in recording and disseminating music.
KRLA Chronological Archives Vol 6
An amazing trip back to the mid-1960s!The KRLA Chronological Archives series presents the original KRLA newsletters and Beat publications that ran from 1964-1968. They represented pop music culture including exclusive interviews and photos. Starting with Beatles articles and coverage of things related to the radio station DJs (including Casey Kasem and Bob Eubanks), the articles are a cross section of teen music over the years including a heavy emphasis on The Beatles, The Rolling Stones, The Beach Boys, The Monkees, Sonny and Cher, The Mamas and the Papas. They also covered Bob Dylan, The Turtles, Jan & Dean, The Association, Yellow Balloon, Nancy Sinatra, The Everly Brothers, The Righteous Brothers, Dusty Springfield, Simon & Garfunkle, and many many more.Later in the run, the Beat covered issues like the draft, drugs and religion. But the main focus was on pop stars. The Beat also featured a reader's letter column, an ongoing column by Robin Boyd and columns geared "For Girls Only."This volume covers the issues published during the time period listed.8 Volumes cover the entire run of the publication.
KRLA Chronological Archives Vol 8
An amazing trip back to the mid-1960s!The KRLA Chronological Archives series presents the original KRLA newsletters and Beat publications that ran from 1964-1968. They represented pop music culture including exclusive interviews and photos. Starting with Beatles articles and coverage of things related to the radio station DJs (including Casey Kasem and Bob Eubanks), the articles are a cross section of teen music over the years including a heavy emphasis on The Beatles, The Rolling Stones, The Beach Boys, The Monkees, Sonny and Cher, The Mamas and the Papas. They also covered Bob Dylan, The Turtles, Jan & Dean, The Association, Yellow Balloon, Nancy Sinatra, The Everly Brothers, The Righteous Brothers, Dusty Springfield, Simon & Garfunkle, and many many more.Later in the run, the Beat covered issues like the draft, drugs and religion. But the main focus was on pop stars. The Beat also featured a reader's letter column, an ongoing column by Robin Boyd and columns geared "For Girls Only."This volume covers the issues published during the time period listed.8 Volumes cover the entire run of the publication.
KRLA Chronological Archives Vol 5
An amazing trip back to the mid-1960s!The KRLA Chronological Archives series presents the original KRLA newsletters and Beat publications that ran from 1964-1968. They represented pop music culture including exclusive interviews and photos. Starting with Beatles articles and coverage of things related to the radio station DJs (including Casey Kasem and Bob Eubanks), the articles are a cross section of teen music over the years including a heavy emphasis on The Beatles, The Rolling Stones, The Beach Boys, The Monkees, Sonny and Cher, The Mamas and the Papas. They also covered Bob Dylan, The Turtles, Jan & Dean, The Association, Yellow Balloon, Nancy Sinatra, The Everly Brothers, The Righteous Brothers, Dusty Springfield, Simon & Garfunkle, and many many more.Later in the run, the Beat covered issues like the draft, drugs and religion. But the main focus was on pop stars. The Beat also featured a reader's letter column, an ongoing column by Robin Boyd and columns geared "For Girls Only."This volume covers the issues published during the time period listed.8 Volumes cover the entire run of the publication.
U2
U2 were Formed at a Dublin Secondary School by Adam Clayton, Bono, The Edge and Larry Mullen Jr. Like most bands, they wanted to be among the best in the world. By 1991, with Achtung Baby in the pipeline and War, The Unforgettable Fire and The Joshua Tree behind them, they were arguably deserving of that intention. Yet there was more to the band than the stadium records that made their fans deliriously happy and the music's creators artistically and lucratively fulfilled. Their second album, October, opened the four piece into a spiritual journey that fed their later work. Their double album Rattle and Hum proved one of the greatest torchbearers of American music of its time. And then there were Zooropa and Pop - dance oriented albums that showed the initially-punk oriented quartet exploring effects, sounds and territories that few of their contemporaries dared contemplate. That they should exist forty years after their debut is testament to the will, fortitude and versatility U2 holds. Their most recent works Songs of Innocence and Songs of Experience have proven their most reflective and perhaps their most autobiographical. What lies next for U2 only the band know, but this book delves into their past work, without leaving a passenger behind.
Power Ballads And The Stories Behind
Power Ballads is a term that derives from the 1970s and especially from an era when Led Zeppelin, Lynyrd Skynyrd and other associated acts conquered the airwaves with their electrified ballads. Millions of listeners were attracted to the songs that were a mix of slow tempo and electric guitar outbreaks to satisfy the fans. This book features exclusive interviews with rock artists that composed or performed in the recordings of popular Power Ballads. The artists discuss the stories behind the songs that were recorded in 1970s, 1980s, 1990s and beyond... You can read interviews with current or former members of: ALIEN, ARC ANGEL, ARGENT, ASIA, AXE, AXXIS, BRIGHTON ROCK, EVERY MOTHER'S NIGHTMARE, FIONA, GOTTHARD, GREAT WHITE, HARDLINE, HOOTERS, JEAN BEAUVOIR, LETCHEN GREY, LIONHEART, LITA FORD, MARTIN BRILEY, MR. BIG, PINK CREAM 69, PRAYING MANTIS, Q5, ROBERT TEPPER, ROBIN BECK, KEEL, STAGE DOLLS, STAN BUSH, STARZ, TALISMAN, TOUCH, TRIXTER, TYKETTO, WARRIOR SOUL, WHITE LION, Y&T and many more!
Musician in the Museum
In recent years, popular music museums have been established in high profile locations in many of the presumed "musical capitals" of the world, such as Los Angeles, Liverpool, Seattle, Memphis, and Nashville. Most of these are defined by expansive experiential infrastructures centered around spectacular, high-tech displays of varying sizes and types. Through over-the-top acts of display, these museums influence and reflect the values and priorities in the public life of popular music. This book examines the phenomenon of the popular music museum outside the typical and familiar frames of heritage and tourism. Instead, it looks at these institutions as markers of the broader entertainment industry in the era of its rise to global dominance. It highlights the multiple manifestations of power as read across a range of institutions and material forms and discusses how this contributes to shaping the experience of popular culture.
Genealogies of Music and Memory
The history of music is most often written as a sequence of composers and works. But a richer understanding of the music of the past may be obtained by also considering the afterlives of a composer's works. Genealogies of Music and Memory asks how the stage works of Christoph Willibald Gluck (1714-87) were cultivated in nineteenth-century Paris, and concludes that although the composer was not represented formally on the stage until 1859, his music was known from a wide range of musical and literary environments. Received opinion has Hector Berlioz as the sole guardian of the Gluckian flame from the 1820s onwards, and responsible -- together with the soprano Pauline Viardot -- for the 'revival' of the composer's Orfeo in 1859. The picture is much clarified by looking at the concert performances of Gluck during the first two thirds of the nineteenth century, and the ways in which they were received and the literary discourses they engendered. Coupled to questions of music publication, pedagogy, and the institutional status of the composer, such a study reveals a wide range of individual agents active in the promotion of Gluck's music for the Parisian stage. The 'revival' of Orfeo is contextualised among other attempts at reviving Gluck's works in the 1860s, and the role of Berlioz, Viardot and a host of others re-examined.
Multilingual Metal MusicSociocultural, Linguistic and Literary Perspectives on Heavy Metal
This multi-disciplinary edited collection explores the textual analysis of heavy metal lyrics written in languages other than English, including Yiddish, Latin, Russian, Austrian German, Spanish and Italian. The volume features fascinating chapters on the role of ancient language in heavy metal, the significance of metal in minority-language communities, Slovenian mythology in metal, heavy metal lyrics and politics in the Soviet Union and Taiwan, processing bereavement in Danish black metal, cultural identity in Norwegian-medium metal, and the Kawaii metal scene in Japan, amongst others. Applying a range of methodological approaches - from literary and content analysis to quantitative corpus methods and critical approaches - the book conceptualises various forms of identity via lyrical text and identifies a number of global themes in heavy metal lyrics, including authenticity, parody and the desire to sound extreme, that reoccur across different countries and languages. The book is essential reading for researchers and students of metal music and culture, as well as those with broader interests in cultural studies, musicology, literary studies and popular culture studies.
The Art of Digital OrchestrationTheArt of Digital Orchestration
The Art of Digital Orchestration explores how to replicate traditional orchestration techniques using computer technology, with a focus on respecting the music and understanding when using real performers is still the best choice.
Queercore
Queercore: How to Punk a Revolution: An Oral History is the very first comprehensive overview of the movement that defied both the music underground and the LGBT mainstream community--queercore. Through exclusive interviews with protagonists like Bruce LaBruce, G.B. Jones, Jayne County, Kathleen Hanna of Bikini Kill and Le Tigre, film director and author John Waters, Lynn Breedlove of Tribe 8, Jon Ginoli of Pansy Division, and many more, alongside a treasure trove of never-before-seen photographs and reprinted zines from the time, Queercore traces the history of a scene originally "fabricated" in the bedrooms and coffee shops of Toronto and San Francisco by a few young, queer punks to its emergence as a relevant and real revolution. Queercore gets a down-to-details firsthand account of the movement explored through the people that lived it--from punk's early queer elements, to the moments Toronto kids decided they needed to create a scene that didn't exist, to the infiltration of the mainstream by Pansy Division, and the emergence of riot grrrl as a sister movement--as well as the clothes, zines, art, film, and music that made this movement an exciting in-your-face middle finger to complacent gay and straight society. Queercore will stand as both a testament to radically gay politics and culture and an important reference for those who wish to better understand this explosive movement.
Joni Mitchell
This is the story of one of the most important female recording artist of the last 50 years. Joni Mitchell began singing in small nightclubs in her hometown of Saskatoon, Saskatchewan before busking in the streets and nightclubs of Toronto, Ontario. In 1965, she moved to the U.S. and began touring. Settling in Southern California, Mitchell, with popular songs like "Big Yellow Taxi" and "Woodstock," helped define an era and a generation. Mitchell's fifth album, For the Roses, was released in 1972. She then switched labels and began exploring more jazz-influenced melodic ideas, by way of lush pop textures, on 1974's Court and Spark, which featured the radio hits "Help Me" and "Free Man in Paris" and became her best-selling album. With roots in visual art, Mitchell has designed most of her own album covers. She describes herself as a "painter derailed by circumstance."
Wings Live
This is the first detailed study of Paul McCartney's Wings on tour in the 1970s. It covers every single concert from the University Tour of 1972, ending with the abandoned tour of Japan in January 1980. A wide variety of primary sources have been consulted, including all available audio and video recordings; press reviews; fan recollections; newspaper reports and tour programmes. The author pinpoints wider trends in McCartney's approach to touring - from the informality of the early gigs, to the spectacular excesses of the 1976 Wings over America tour. The narrative is woven around a wider overview of Wings' recording activities in the decade, covering albums such as the landmark Band on the Run (1973). The book concludes with a detailed interview with Laurence Juber, Wings' lead guitarist from 1978 until the break-up of the band in 1981. This is the third book about Paul McCartney/Wings by Adrian Allan. His previous two books were greeted with almost universal praise. Adrian Allan is a music teacher, postgraduate student, and author based in Manchester, UK.
Sonic Overload
Sonic Overload offers a new, music-centered cultural history of the late Soviet Union. It focuses on polystylism in music as a response to the information overload swamping listeners in the Soviet Union during its final decades. It traces the ways in which leading composers Alfred Schnittke and Valentin Silvestrov initially embraced popular sources before ultimately rejecting them. Polystylism first responded to the utopian impulses of Soviet ideology with utopian impulses to encompass all musical styles, from "high" to "low". But these initial all-embracing aspirations were soon followed by retreats to alternate utopias founded on carefully selecting satisfactory borrowings, as familiar hierarchies of culture, taste, and class reasserted themselves. Looking at polystylism in the late USSR tells us about past and present, near and far, as it probes the musical roots of the overloaded, distracted present.? Based on archival research, oral historical interviews, and other overlooked primary materials, as well as close listening and thorough examination of scores and recordings, Sonic Overload presents a multilayered and comprehensive portrait of late-Soviet polystylism and cultural life, and of the music of Silvestrov and Schnittke. Sonic Overload is intended for musicologists and Soviet, Russian, and Ukrainian specialists in history, the arts, film, and literature, as well as readers interested in twentieth- and twenty-first century music; modernism and postmodernism; quotation and collage; the intersections of "high" and "low" cultures; and politics and the arts.
Jota de C?rcer
En la Jota de C?rcer Enrique Hernandis vol aportar m繳sica a la importancia de la Jota com a ball tradicional Valenci?. Es tracta d' una pe癟a de nova creaci籀, encara que les jotes solen ser populars, sense autor穩a. El subt穩tol "perqu癡 em d籀na la gana" fa refer癡ncia al text cantable, del mateix autor, que reviu c籀micament al personatge an簷nim que tradicionalment viu amb llibertat, sense preocupacions alienes que li puguen afectar.
New Music Theatre in Europe
The new music theatre of the third quarter of the twentieth century presents a research field of great richness. In these years, music theatre became one of the main preoccupations for (especially) young composers digesting the consequences of the revolutionary experiments in musical language that followed the e
Victorian Vocalists
Victorian Vocalists is a masterful and entertaining collection of 100 biographies of mid- to late-19th-century singers and stars. Not only an outstanding reference work for anyone interested in vocalists of the era, but also a compelling, meticulously researched picture of life in the vast shark tank that was Victorian mu
King of the Delta Blues
Born 130 years ago in the heart of Mississippi, Charlie Patton (c. 1891-1934) is considered by many to be a father of the Delta blues. With his bullish baritone voice and his fluid slide guitar touch, Patton established songs like "Pony Blues," "A Spoonful Blues," and "High Water Everywhere" in the blues lexicon and, through his imitators, in American music. But over the decades, his contributions to blues music have been overshadowed in popularity by those of Robert Johnson, Muddy Waters, and other mid-century bluesmen and women who've experienced a resurgence in their music. King of the Delta Blues Singers, originally published in 1988, began a small renaissance in blues and Patton research and set a new scholarly precedent touching even the spelling his name--which, to Patton himself, was "Charlie," not the "Charley" of the early records. And now, with the wide availability of Patton's complete discography in multiple formats, this revised second edition brings the legend of Charlie Patton into a clarity of detail that was previously impossible. Gayle Dean Wardlow and the late Stephen Calt (1946-2010) originally probed Patton's career in the Mississippi Delta, his early performances and recordings, and his musical legacy that continues to influence today's guitarists and performers, including such musicians as Jack White and Larkin Poe. For this second edition, Wardlow and Edward Komara refined the text and rewrote major sections, updating them with new scholarship on Patton and Delta blues. And finally, Komara has added a new afterword bringing Patton into the contemporary blues conversation and introducing numerous musical examples for the modern researcher and musician. The second edition of King of the Delta Blues Singers will further cement Patton's legacy among important blues musicians, and it will be of interest to anyone absorbed in the beginnings of the Delta blues and music biographies.
Improvising Sabor
Improvising Sabor: Cuban Dance Music in New York begins in 1960s New York and examines in rich detail the playing styles and international influence of important figures in US Latin music. Such innovators as Jos矇 Fajardo, Johnny Pacheco, George Castro, and Eddy Zervig籀n dazzled the Palladium ballroom and other Latin music venues in those crucible years. Author Sue Miller focuses on the Cuban flute style in light of its transformations in the US after the 1959 revolution and within the vibrant context of 1960s New York. While much about Latin jazz and salsa has been written, this book focuses on the relatively unexplored New York charangas that were performing during the chachach獺 and pachanga craze of the early sixties. Indeed, many accounts cut straight from the 1950s and the mambo to the bugal繳's development in the late 1960s with little mention of the chachach獺 and pachanga's popularity in the mid-twentieth century. Improvising Sabor addresses not only this lost and ignored history, but contends with issues of race, class, and identity while evaluating differences in style between players from prerevolution Cuban charangas and those of 1960s New York. Through comprehensive explorations and transcriptions of numerous musical examples as well as interviews with and commentary from Latin musicians, Improvising Sabor highlights a specific sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York. The distinctive styles generated by these musicians sparked compelling points of departure and influence.
Improvising Sabor
Improvising Sabor: Cuban Dance Music in New York begins in 1960s New York and examines in rich detail the playing styles and international influence of important figures in US Latin music. Such innovators as Jos矇 Fajardo, Johnny Pacheco, George Castro, and Eddy Zervig籀n dazzled the Palladium ballroom and other Latin music venues in those crucible years. Author Sue Miller focuses on the Cuban flute style in light of its transformations in the US after the 1959 revolution and within the vibrant context of 1960s New York. While much about Latin jazz and salsa has been written, this book focuses on the relatively unexplored New York charangas that were performing during the chachach獺 and pachanga craze of the early sixties. Indeed, many accounts cut straight from the 1950s and the mambo to the bugal繳's development in the late 1960s with little mention of the chachach獺 and pachanga's popularity in the mid-twentieth century. Improvising Sabor addresses not only this lost and ignored history, but contends with issues of race, class, and identity while evaluating differences in style between players from prerevolution Cuban charangas and those of 1960s New York. Through comprehensive explorations and transcriptions of numerous musical examples as well as interviews with and commentary from Latin musicians, Improvising Sabor highlights a specific sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York. The distinctive styles generated by these musicians sparked compelling points of departure and influence.
Gods and Guitars
Though American attitudes toward religion changed dramatically during the 1960s, interest in spirituality itself never diminished. If we listen closely, Michael Gilmour contends, we can hear an extensive religious vocabulary in the popular music of the decades that followed--articulating each generation's spiritual quest, a yearning for social justice, and the emotional highs of love and sex. Probing the lyrical canons of seminal artists including Cat Stevens, the Rolling Stones, Bob Dylan, Eric Clapton, Joni Mitchell, Neil Young, U2, Ozzy Osbourne, Pearl Jam, Madonna, and Kanye West, Gilmour considers the ways--and reasons why--pop music's secular poets and prophets adopted religious phrases, motifs, and sacred texts.
The Musical Matrix Reloaded; Contemporary Perspectives and Alternative Worlds in the Music of Beethoven and Schubert
The Musical Matrix Reloaded proposes a striking new scenario for the music of Beethoven and Schubert in the contemporary world. It draws on the theory of Multiple Worlds in physics, and on sci-fi and movies, as powerful contemporary models of alternative realities to explain radical features of interpolation, dislocation, and ultimately of return. Confronting familiar assumptions about Beethoven's and Schubert's music as long-range consonance, the book proposes instead that musical action is predicated on an underlying disruptive energy, Nietzsche's Dionysian disruptive background re-interpreted in the contemporary world. When it breaks through the musical surface, it dislocates continuity and re-routes tonal narrative into new, unforeseen directions. These unforeseen paths enable us to glimpse in Beethoven's and Schubert's music the beautiful, and often haunting, reality of another world.
An Outkast Reader
OutKast, the Atlanta-based hip-hop duo formed in 1992, is one of the most influential musical groups within American popular culture of the past twenty-five years. Through Grammy-winning albums, music videos, feature films, theatrical performances, and fashion, Andr矇 "Andr矇 3000" Benjamin and Antwan "Big Boi" Patton have articulated a vision of postmodern, post-civil rights southern identity that combines the roots of funk, psychedelia, haute couture, R&B, faith and spirituality, and Afrofuturism into a style all its own. This postmodern southern aesthetic, largely promulgated and disseminated by OutKast and its collaborators, is now so prevalent in mainstream American culture (neither Beyonc矇 Knowles's "Formation" nor Joss Whedon's sci-fi /western mashup Firefly could exist without OutKast's collage aesthetic) that we rarely consider how challenging and experimental it actually is to create a new southern aesthetic. An OutKast Reader, then, takes the group's aesthetic as a lens through which readers can understand and explore contemporary issues of Blackness, gender, urbanism, southern aesthetics, and southern studies more generally. Divided into sections on regional influences, gender, and visuality, the essays collectively offer a vision of OutKast as a key shaper of conceptions of the twenty-first-century South, expanding that vision beyond long-held archetypes and cultural signifiers. The volume includes a who's who of hip-hop studies and African American studies scholarship, including Charlie Braxton, Susana M. Morris, Howard Ramsby II, Reynaldo Anderson, and Ruth Nicole Brown.
Mary Sings Praises to Hymn
This volume of the "To Hymn" series studies carols, songs, and hymns that focus on the Virgin Mary, mother of our Lord Jesus Christ. This book looks at not only the hymn verses, it also reflects on what Scripture says as well as comment on how Mary felt going through this ordeal.
The Politics of Opera
A wide-ranging look at the interplay of opera and political ideas through the centuries The Politics of Opera takes readers on a fascinating journey into the entwined development of opera and politics, from the Renaissance through the turn of the nineteenth century. What political backdrops have shaped opera? How has opera conveyed the political ideas of its times? Delving into European history and thought and music by such greats as Monteverdi, Lully, Rameau, and Mozart, Mitchell Cohen reveals how politics--through story lines, symbols, harmonies, and musical motifs--has played an operatic role both robust and sotto voce. This is an engrossing book that will interest all who love opera and are intrigued by politics.
